In office expansion news, Aedas announces it plans to double the size of its London office (currently 80 staffers) in the next two years to keep pace with work in Russia and North Africa.
Have news on movers and shakers in the architecture & design universe for SHFT+ALT+DEL? Send your tips to email@example.com!
**2/27 Breaking news: The New Yorker‘s Paul Goldberger will be joining the panel discussion. Critical mass!
Monday, February 27
Architecture Criticism Today
Center for Architecture
536 LaGuardia Place
Who is best served by criticism? Who is the proper audience? Can it simultaneously serve the profession and the wider public, or are they mutually exclusive? How has role of general-interest media critics evolved? As a project comes to life, at what point(s) should critics weigh in?
The first of a four-part series on Architecture and the Media will address some of these questions, when architecture critics discuss the role of criticism in the field of architecture today and how it informs the general public’s understanding of design.
AN‘s executive editor Julie Iovine will moderate a panel discussion among architecture critics at consumer, business and trade publications: Justin Davidson (New York Magazine), Cathleen McGuigan (Architectural Record), and James Russell (Bloomberg), with audience Q&A to follow.
1.5 CEUs; $10 for members and students; $20 non-members. TICKETS
Organized by the Oculus Committee, the AIANY Marketing & PR Committee, and The Architect’s Newspaper.
Stanley Tigerman: Ceci n’est pas une rêverie
Madlener House, Graham Foundation
4 West Burton Place
Through May 19
Curated by Yale School of Architecture Professor Emmanuel Petit, Ceci n’est pas une rêverie (“This is not a dream”), is a retrospective that examines the architectural and conceptual work of Stanley Tigerman (top, 1966). Occupying three floors of the Graham Foundation’s Madlener House, the exhibition is arranged in relation to nine dominant themes recurring throughout Tigerman’s 50 career: Utopia, Allegory, Humor, Death, Division, (Dis)Order, Identity, Yaleiana, and Draft.
A variety of media, including models, photographs, and archival documents, offer a sampling of the architect’s output, and the exhibition includes one of Tigerman’s best-known pieces, The Titanic, 1978 (above), a collage that explicitly critiques the state of architecture in the late 1970s with S. R. Crown Hall sinking into Lake Michigan.
While most design students are starting the scramble for plum summer internships, Tina Uznanski can rest easy, knowing a desk with her name on it will be waiting at Gensler’s London office. Uzanski, an interior design student at the Pratt Institute, has received Gensler’s annual Brinkmann Scholarship, winning a paid summer internship at the Gensler office of her choice and a cash prize to be put toward her final year of study at Pratt. The award was established in 1999 as a memorial to interior designer and former Gensler partner Donald G. Brinkmann.
Uznanski won the competition with her clever concept for a renovation of her neighborhood library in Clinton Hill, Brooklyn, that creates a flexible room through “shifting stacks.” images after the jump
Luka Fineisen: Phase Transitions
531 West 36th St.
Through March 31
“Phase transition” refers to the transformation of a thermodynamic system from one state of matter to another. German artist Luka Fineisen explores these shifts by framing the moment of transformation from one condition to another; she sculpts dynamic systems, the final work of art being the system’s realization of potential. In this way, even sculptures that appear static, such as Bubbles (above, 2010), draw attention to the temporality of material—this is not plastic, but a material in search of its form. This will be Fineisen’s first solo exhibition in the United States.
Dan Flavin: Drawing
The Morgan Library & Museum
225 Madison Ave.
February 17 to July 1
The Morgan Library & Museum exhibits for the first time the drawings of Dan Flavin, ranging from early abstract expressionist watercolors to studies for installations to modern and classic works from his personal collection. While he is known for his fluorescent light installations, Flavin was an avid draftsman; he developed compositions, like In Honor of Harold Joachim, above, with ink and colored pencil on graph paper. Striking in their sparseness, his more representational sketches of landscapes, sailboats, and portraits have minimalist and calligraphic qualities that harken to the Japanese drawings in the artist’s personal collection. Two of Flavin’s major light installations are also installed in the gallery.
Rachel Judlowe, formerly arts and design PR guru at Ruder Finn, is partnering up with architecture and design publicist Elizabeth Kubany of EHK PR.
Gensler appoints two principals as new managing directors at its London office: Ian Mulcahey and Duncan Swinhoe, who joined the firm in 2000 and 2004 respectively.
Michael Algiere departs Jones Lang LaSalle to join Cannon Design as principal and leader of the firm’s corporate/commercial interiors practice for the New York region.
Have news on movers and shakers in the architecture & design universe for our bi-weekly SHFT+ALT+DEL? Send your tips to firstname.lastname@example.org!
Charles Dickens would have been 200 today. Among the bicentennial celebrations of the noted Victorian writer, the Museum of London has been hosting an elaborate Dickens and London exhibition including a Dickensian street scene designed and built by set designer Simon Costin for its City Gallery. The “fantastical wintry vision of 19th century London” made entirely of cardboard and lit with hundreds of LED lights includes quite an array of Victorian buildings and winding alleyways. According to Costin, “My intention is to create a fantasy vision of London as it would have been glimpsed by Dickens on his nocturnal wanderings through the city. His essays are extremely evocative and I am using the text as my starting point and things will grow and develop from there. He has said that he felt like a child in a dream, ‘staring at the marvellousness of everything’. It is that marvellousness that I want to recreate.” The window display closes this month, but if you’re in London, the MoL’s Dickens show keeps going through June. (Via Creative Review.)
But it turns out Dickens had his own eye for design as well. Hilary Macaskill recently wrote in the Guardian that the Victorian author had quite the penchant for interior design. She cites a 6,000 word article (you can become amazingly descriptive when paid by the word) he wrote about wallpaper and other decorations, where he remarks on the design of American wallcoverings from his recent visit in 1842 along with his own designs for wallpaper. Even in his home at 48 Doughty Street, Dickens enjoyed crafting the interior spaces down to the shade of pink trim and a set of decanters he picked up for “slight bargains.” Read the entire article here and check out a slideshow of his home here.
We here at The Architect’s Newspaper always appreciate unfettered access when it comes our way, but today we’re unwitting holders of the hottest ticket in town. This morning you couldn’t get any where near City Hall without a business card that says you work nearby. Turns out we landed front row seats to the ticker tape parade and City Hall ceremony celebrating the NY Giants Superbowl victory. Now, how do we relate this to urban planning and architecture…
Yoshiko Sato, an architect and educator who was committed to repairing the world through design, died on Sunday in New York City after a battle with cancer. Sato was born in Tokyo to parents who studied engineering and design, which sparked her interest in science and the arts. Following a tour of Europe to study art and design, the Tokyo native settled in New York in the early 1980s and continued her education at Parsons School of Design. Her professors Billie Tsien, Robert MacAnulty, and Laurie Hawkinson quickly recognized her talent and encouraged Sato to move toward architecture. She transferred to the Cooper Union where she continued her studies under John Hejduk, Toshiko Mori, Tod Williams, and Peter Eisenman, graduating in 1989. In 1996, she received a Masters in Architecture from the Harvard Graduate School of Design where she explored architecture and urban design under Raphael Moneo and received honors for her thesis on rebuilding Kobe, Japan after a devastating earthquake in 1995.
Sato’s professional career in New York bridged architecture, art, and design across a broad range of scales. She operated the Morris Sato Studio with her husband and design partner Michael Morris, exploring the ethereal nature of design as represented in the award-winning retrospective exhibit Shiro Kuramata, 1934-1991 and in her installation LightShowers. She won further accolades for her personal and comprehensive exploration in a pair of houses recently completed on Shelter Island.
Returning to education, Sato was appointed to Columbia’s GSAPP in 1999 where she directed the Japan Lab in Architecture. Her passion for both sustainability and exploration into outer space were clear in her work, including a collaboration with GSAPP and NASA to create Space Habitation Modules.
Sato is survived by her husband, mother, and sister Noriko Oguri of Yokohama, Japan. The staff at The Architect’s Newspaper sends our condolences to her family, friends, and colleagues. Those who wish to honor the memory of Yoshiko Sato may donate to the Japanese Red Cross Society. Condolences may be sent to Morris Sato Studio, 219 East 12th Street, 1st Fl., New York, New York 10003 or email@example.com.